MUSICAL ACOUSTICIANS AND THEIR SPECIALTIES  

         A B C D E F G H I J K L M N O P R S T V W Y Z

Seiji Adachi (wind instruments, singing voice, CFD simulation) e-mail

Joaquim Agullo (woodwinds, time domain models) e-mail

Noam Amir (physical modeling)  e-mail

Christophe d'Alessandro (singing voice, intonation perception, signal processing, pipe organ, clavichord) e-mail

Paul Anglmayer (simulation, physical modeling, brass)  e-mail

Judit Angster (sound analysis, pipes and organ studies) e-mail

Anders Askenfelt (string instruments)  e-mail

Dean Ayers (brass trumpet)  e-mail

Rolf Bader (systematic music science) e-mail

Andreas Bamberger (wind instruments, flute with PIV) e-mail

Ana Barjau (wind instruments, sound impedence, physical modeling) e-mail

James Beauchamp (computer music; analysis, synthesis, and perception of musical sounds;wind acoustics; pitch detection and musical sound separation) e-mail

W. R. Bennett (multiphonic)  e-mail

Matthias Bertsch (Interdisciplinary Research on Music Acoustics and Music Physiologie, Psychophysiologie & Brass Instruments Studies) e-mail

Charles Besnainou ( perception and recognition of music, alternate materials for stringed instruments)  e-mail

George Bissinger (analysis,radiation from string instruments) e-mail

Barbara Blankenship (opera, acoustic phonetics, perception, organ building.) e-mail

Davide Bonsi (ambisonics technology, sound intensity measurement, organ pipes, musical spaces)  e-mail

Ingolf Bork (brass, piano, analysis of musical sounds)

Marina Bosi(signal processing with application in music, perceptual audio coding)  e-mail

Xavier Boutillon (piano, bowed strings and wind instruments) e-mail

Andreas Bamberger (wind instruments, flute with PIV) e-mail

Jonas Braasch (physical modeling of organ pipes with free reeds) e-mail

Nigel Breitz (music theory from mathematical and physical perspectives)  e-mail

Roberto Bresin (music performance, emotion, piano acoustics, sound control, gesture analysis, neural networks) e-mail

Andrew Brown (double bass, analysis and perception of sound) e-mail

Judith Brown (audio signal processing, machine perception of music)  e-mail

Donald Murray Campbell (general musical acoustics, brass instruments, historical instruments)  e-mail

Michele Castellengo ( flute organ pipes and voice acoustics, sound perception analysis) e-mail

Daryl Caswell (wind and brass instruments, sound reflection, bell plates,
sound analysis, manufacturing practices)  e-mail

René Caussé (Modeling of musical instruments - Sound synthesis and Instrument making) e-mail

Antoine Chaigne (modeling and simulations of strings and percussion instruments)  e-mail

Jer Ming Chen (wind instruments, especially clarinet and saxophone, and the effects of the vocal tract) e-mail

Yong Choi (influence of inharmonicity on the tone of a piano) e-mail

Annabel J. Cohen (Music perception and cognition, film music, singing) e-mail (alternate webpage at http://www.airsplace.ca/)

Daniel Commins (room acoustics)  e-mail

Perry R. Cook (Real-time music and voice synthesis algorithms, using physical models where possible.Controls and controllers for these models.)  e-mail

James Cottingham (free reed instruments)  e-mail

Lola L. Cuddy (music perception and cognition, psychoacoustics) e-mail

Sofia Dahl (hand and arm movement, timing, percussion, drumming, motion analysis, perception)  e-mail

Jean-Pierre Dalmont (brass and wind, numerical and physical modeling, clarinet, trombone) e-mail

Bertrand David (musical signal processing: frequency and damping estimation, high resolution, components tracking, and indexation, acoustical efficiency, guitar, bells) e-mail

Robert E. Davis (vibrating membranes and plates)  e-mail

Nicolas Dauchez (stringed instruments, the bow)

Laurent Demany (psychoacoustics, music perception)  e-mail

Diana Deutsch (music perception and cognition, musical illusions)  e-mail (alternate webpage at http://philomel.com/)

Peter Dobbins (hurdy-gurdies and related string instruments)

Eric Ducasse (modeling principals for time-domain simulations of wind intruments)  e-mail

Edward Dugger (musical instruments within architectural spaces)

Gerhard Eckel (psychoacoustics, multi-tone masking for the analysis of musical sound signals, sound synthesis language) e-mail 

Dieter Ennemoser (violin maker, acoustic researcher)  e-mail

Georg Essl (computer music, numeric simulations)  e-mail

Benoit Fabre (wind instruments: flutes, analysis, modeling and simulation, flow visualization)  e-mail

Neville Fletcher (musical instruments, physiological acoustics, nonlinear dynamics and chaos)  e-mail

Anders Friberg (Music performance, interpretation, music and motion, timing, intonation, phrasing, music software)  e-mail

Leonardo Fuks (woodwinds, voice: extended techniques,psychoacoustics) e-mail

Dermot Furlong (audio analysis/synthesis, signal processing, psychoacoustics,timbre, tuning and mathematical representations) e-mail

Alexander Galembo (piano acoustics, tone quality, segregation and interactionof tones, other topics in musical acoustics)  e-mail

Bram Gatjen  (wind:oboe

François Gautier (fluid/structure interactions, wall vibrations of wind instruments, vibro-acoustics of the concert harp, sound directivity, sympathetic stings vibrations)  e-mail 

Bruno Gazengel (saxophone)  e-mail

Gary Gibian (signal processing, psychoacoustics, electronic music) e-mail

Vincent Gibiat (signal analysis, chaos, impedence measurements, woodwinds: flute, clarinet, traditional, saxophone, historical)  e-mail

Joël Gilbert (physics of wind instruments) e-mail

Nicholas Giordano (physics of the piano) e-mail

Gerard Girolami (audio signal processing, note identification)

Werner Goebl (artificial intelligence and music, piano) e-mail

Colin Gough (Stringed instruments: violin)  e-mail

Alain Goye (hearing aids, speech intelligibility coding and enhancement, digital signal processing)  e-mail

Svante Granqvist (speech,voice, laryngoscopye-mail

Knut Guettler (simulations and analysis of the bowed string) e-mail

Donald Hall (musical instruments, psychoacoustics) e-mail

Uwe J. Hansen (mode studies, holographic interferometry, modal analysis)  e-mail

Roger J. Hanson (plucked and bowed strings, nonlinear string properties) e-mail

J. M. Harrison (way sounds control the behavior of mammals) e-mail

William Hartmann (psychoacoustics,electronic music)  e-mail

Hermann Ludwig Helmholtz (musical theory, perception of sound)

Hanspeter Herzel (voice)  e-mail 

Toby Hill (guitar, woodwind and brass, acoustics and psychoacoustics, bassoon, pitch perception)  e-mail

Avraham (Mico) Hirschberg (fluid mechanics, wind-instruments, human speech)  e-mail

Peter Hoekje (woodwinds and brasses, physical acoustics, signal processing)  e-mail

Brian Holmes (brass instruments) e-mail

Adrian Houtsma (psychoacoustics, musical instruments, audio coding)

Carleen M. Hutchins (violin family instruments, making and research)

James Irwin Jr. (physical modeling of percussion instruments) e-mail

Erik Jansson (acoustics of the violin, function and tonal quality) e-mail

Matti Karjalainen (signal processing, models for string instruments,psychoacoustics) e-mail

Wilfried Kausel (optimization and simulation, physical modeling of brass instruments, string admittance)  e-mail

Douglas Keefe (wind instruments, signal processing)  e-mail

Jonathan Kemp (acoustics, pulse, reflectometry)  e-mail

RogerA. Kendall (psychoacoustics, music cognition, timbre analysis and synthesis, film music )  e-mail

Jean Kergomard (single reed wind instruments)  e-mail

Kenshi Kishi (string instrument mutes)  e-mail

Mendel Kleiner (flue organ pipes, voicing techniques. transient sounds, listening tests, room acoustics, psychoacoustic physical modeling) e-mail

Malte Kob (vocal tract and folds, Green's functions, time domain model, physical modeling)  e-mail

Bozena Kostek (musical acoustics, psychophysiology of hearing, studio technology, pipe organ, soft computing applications, music information retrieval) e-mail

Helmut Kuhnelt (flute)  e-mail

Clif Kussmaul (signal processing, electro-acoustic music, auditory perception) 

Bernhard Laback (psychoacoustics, hearing impairment, cochlear implants)

Bruce Lawson (wind instruments, analysis/synthesis of musical sounds)  e-mail

Minkyu Lee (psychoacoustics, signal processing)  e-mail

Aijun Li (impulse response with pulse reflectometry, wind instruments) e-mail

Ian Lindevald (perception in rooms, wind instruments) e-mail

Zainea Liviu (perception, acoustical consultant diffusor, inventor of the Roundffusor1 (R1)) e-mail

Emil H. Lubej (sound analysis, ethno-musicology, internet radio) e-mail

Daniel O. Ludwigsen (brass instruments, folk/traditional instruments, Helmholtz resonators, FE modeling) e-mail

Robert C. Maher (digital audio signal processing, digital music synthesis)  e-mail

Antonio Mancuso (piano acoustics, tuning, psychoacoustics) e-mail

William Martens (spatial hearing, acoustical cues used in human sound localization) e-mail

Stephen McAdams (psychoacoustics, music perception and cognition) e-mail

John McLennan (violin acoustics, baroque, classical and modern instruments) e-mail

Juergen Meyer (general acoustics, orchestra, performing, piano)

Andreas Miklos (organ pipe)  e-mail

Paul Milenkovic (acoustic analysis of speech/singing voice, acousticsof air columns)  e-mail

Joan E Miller (Analysis/synthesis of string sounds, signal processing) e-mail

Joel D. Miller (spatial audio, computer music, digital audio processing)  e-mail

Nicolas Misdariis (physical modeling, sound diffusion, sound perception, sound design) e-mail

Federico Miyara (acoustics, noise control, electronic and instrumental music composition, computer analysis of musical performance, psychoacoustics)  e-mail 

Nils-Erik Molin (optical metrology - applied to violins and other musical instruments) e-mail

Jeremy Montagu (playing technique, sound, timpani, ethnic instruments) e-mail

F. Richard Moore (computer music, digital signal processing) e-mail

Thomas Moore (brass instruments, speckle pattern interferometry) e-mail

Andrew Morrison (steelpan, HANG, modal analysis, sound intensity) e-mail

Lars Hendik Morset (violins radiation)  e-mail

D. W. Mueller (timpani)  e-mail 

John L. Murphy (loudspeaker modeling, audio signal processing) e-mail

Arnold Myers (historic brass instruments, bore reconstruction) e-mail

Isao Nakamura (piano, sound analysis)

Cornelis Nederveen (wind instruments) e-mail

John Neuhoff (psychoacoustics, music perception)  e-mail

Kengo Ohgushi (psychoacoustics, analysis of music performance)  e-mail

Andres Peekna (Baltic psaltery) e-mail

William Pielemeier (signal processing, time-frequency analysis) e-mail

Robert Pyle (brass instruments, numerical modeling of brasses) e-mail

James M. Pyne (clarinet) e-mail

Andrzej Rakowski (musical perception and cognition, psychoacoustics) e-mail

Bruno H. Repp (rhythm and timing, musical expression, perception and action)  e-mail

Paola Ricciardi (room acoustics) e-mail

Orlando Richards (artificial lips: lip modeling)  e-mail

Bernard Richardson (guitar acoustics, from construction to perception) e-mail

Dawn Rockliff (acoustic streaming, particle image velocimetry, non-linear acoustics, woodwinds) e-mail

Xavier Rodet (sound synthesis and analysis )  e-mail

Oliver Rodgers (string instruments, modal analysis)

Juan Roederer (psychoacoustics, information theory)  e-mail

Thomas Rossing (percussion instruments, string instruments, modal analysis, singing, perception of pitch) e-mail

Howard B. Rothman (acoustic analysis of the singing voice) e-mail

Dan Russell (modal analysis, acoustics of pianos and guitars, holographic interferometry)  e-mail 

Naoki Saiwaki (psychoacoustics) e-mail

Henrik Saldner (violin, electronic holography)  e-mail

Markus Sapp (sound synthesis, signal analysis and processing, DSP, psychoacoustics)  e-mail

Ronan Scaife (mixed-mode physical/synthetic wind instruments) e-mail

Gary Scavone (audio signal processing, wind instrument acoustics and modeling)  e-mail

Ronald C. Scherer (voice and singing)  e-mail

Martin Schleske (string instrument making, modal analysis) e-mail

Matthias Scholz (physics of historical keyboard instruments, such as organs and harpsichordss) e-mail

Robert Schumacher (string instruments)  e-mail

William Sethares (audio signal processing, interactions between timbre and tuning) e-mail

David Sharp (brass instruments, impedence, bore reconstruction, pulse reflectometry)  e-mail

Punita Singh (acoustical engineering) e-mail

Panayotis Skordos (CFD simulation of flue pipes)  e-mail

John Smith (wind instruments; vocal tracts in speech, singing and playing; acoustic impedance) e-mail

Julius Smith (signal processing, efficient models for strings and winds)  e-mail

Richard Smith-Watkins (brass instruments: trumpet)  e-mail

Gerald Sonneck (wind instruments, analysis and perception of sound)  e-mail

Domenico Stanzial (energetic analysis of sound fields, perception in rooms, sound spatialization)  e-mail

Jan Stepanek (psycoacoustics, statistics, string instruments, pipe organs)  e-mail

William J. Strong (analysis/synthesis, wind instruments, signal processing,physical modeling)  e-mail

Anatoli Stulov (piano, physical modeling, nonlinear acoustics, dynamical processes in microstructural materials)  e-mail

Johan Sundberg (singing, voice, tuning, theory of music performance, music perception)  e-mail

Sten Ternstrom (choir acoustics, voice analysis and synthesis, room acoustics, audio signal processing, music perception) e-mail

Mats Tinnsten (violin optimization, wood properties)  e-mail

Ingo Titze (human larynx, singing voice) e-mail or e-mail

Lamberto Tronchin (virtual reconstruction, 3D IRS measurements, B-format reproduction, physical models)  e-mail

Arnold Tubis (acoustic musical instruments, folk instruments, physical probes and physical modeling of the auditory periphery)  e-mail

Maarten Van Walstijn (physical modeling, reed woodwinds, impedance measurement) e-mail

Vesa Välimäki (sound synthesis, string instruments, signal processsing) e-mail

Christophe Vergez (physical modeling, auto-oscillation, sound synthesis)  e-mail

Oliver Vitouch (music perception and cognition, neurosciences, absolute pitch, film music)  e-mail

Wolfgang Vogl (string instruments)  e-mail

Chris Waltham (harp acoustics)

Lily Wang (strings, radiation, spaciousness or listener envelopment) e-mail

Gabriel Weinreich (general musical acoustics)  e-mail

Paul A. Wheeler (musical instruments of the world and sound system design) e-mail

Gregor Widholm (Brass Instruments, systems for quality evaluation, simulation, physical modelling)  e-mail

Gerhard Widmer (artificial intelligence and music, piano) e-mail

Joe Wolfe (wind instruments, vocal tracts and interactions between them, cochlear implants, violins, guitars, yadaki)  e-mail

Howard Wright (psychoacoustics, perception, timbre, tone quality, wind instruments, mouth pieces) 

Raimund Wuertz (architectural and room acoustics, modular acoustics booths)  e-mail

Junehee Yoo (modal analysis, Korean instruments) e-mail

Shigeru Yoshikawa (physiology, brass, playing techniques) e-mail

Simone Zopf (violin, instrument making, modal analysis) e-mail

Tilmann Zwicker (Electric musical instruments and amplification, guitarfamily instruments, psychoacoustics, patent related matters) e-mail


(updated 13 August 2014)